Point of view. It seems fairly self-explanatory. As a writer, you only have so many options here, and as long as you pick one and stick with it, you’re fine, right? But as straight-forward as it seems, it’s incredibly easy to misstep and veer your reader in multiple characters’ heads without meaning to. This article delves into how to do it right, and what to avoid.
This is the “I” voice. In first person narration, the reader feels as if they’re being spoken to directly to by your POV character (not the writer). The great thing about first person POV is that your audience gets an effortlessly intimate view of your character because they’re in their head.
In order to make this POV work, you need to have a strong, well developed character that is capable of creating an interesting viewpoint for your reader to view the world from. This is a difficult tightrope to traverse, because you must have a character that just interesting enough to not be boring, but not so interesting that your audience feels adrift inside the head of a lunatic (unless, of course, that’s what you’re going for!).
Where it begins to get hairy is when the story needs information your POV character either can’t know or can’t express out-of-character. They can observe, but everything is seen through the filter of their experience and understanding.
One way to combat this is to have more than one first person POV character. This should be limited by scenes. Don’t head jump from character to character in a single scene; multiple POV characters are generally broken up by chapters, to avoid reader confusion as to whose head their in.
If first person is the most intimate, omniscient has the most perspective. However, it’s an excellent option when your story has elements your characters won’t know, but the reader needs to see. This gives the reader more of a cinematic view of your story–instead of having the actor’s voice narrating the movie, the reader is simply seeing it unfold and having the benefit of catching elements your characters are unaware of. Think of it as the background music of your story–it can be the upbeat melody of an impending delight or the ominous tone of impending doom.
This POV may be distant, but the perspective is excellent. The danger is telling the story without the benefit of getting a first-hand view of the emotions behind it, so as a writer, you’re expected to describe them well without “telling” your reader what those are.
Third person POV is the middle ground between intimate first person and perspective omniscient. This POV has a wide range of variables and balances between the two, and allows for a myriad of ways the writer can experiment with it. It all comes down to how your narration is worded.
If your narrative exposition focuses on feelings or emotionally rendered sensations, it will evoke an almost first person POV feeling for your reader, but if it focuses on distanced, matter-of-fact descriptions, your writing will have a more omniscient POV feelings.
Generally, readers feel more of a connection to intimate-styled writing, so as a writer, be sure to invoke those feelings. It leads to a richer reading experience, and from the language you choose to use, you inform your reader of much more than just the “here and now” aspects of your story–you also show the education, history, and culture background of your character. A character may simply see a “black dress” or may see a “fitted chiffon Chanel” and the reader can guess at the history of that character based on the level of details they notice and give importance to from your narration.
However, there is a line to how much intimacy you have to your writing. Typically, readers associate “depth” with “importance”. If you make everything deep, your reader will become disappointed when a character they’ve emotionally invested themselves in has only a minor, relatively unimportant role not central to the story. Thus, having narrative distance can work in your favor to relay information without creating an expectation of importance.
Your choice of point of view will dictate the direction your novel takes. Make the decision by considering how intimate you want your writing to be and where you want your reader’s focus to sit. Remember that balance is important, regardless of which POV you choose, and write accordingly. Don’t “head jump” or switch POV characters within a scene (always either create a new scene or chapter or insert a linespace to indicate the change so as not to confuse your reader).
What POV are you currently writing in, and would it serve your story better to write it in a different POV? Tell us below!